Frank Leone is nearing the end of his prison term for a relatively minor crime. Just before he is paroled, however, Warden Drumgoole takes charge. Drumgoole was assigned to a hell-hole prison after his administration was publicly humiliated by Leone, and has now arrived on the scene to ensure that Leone never sees the light of day.
- Category:Thriller, Drama, Crime
- Stars:Sylvester Stallone, Donald Sutherland, John Amos, Sonny Landham, Tom Sizemore, Frank McRae, Darlanne Fluegel, William Allen Young, Larry Romano, Jordan Lund, John Lilla, Dean Rader-Duval, Jerry Strivelli, David Anthony Marshall, Kurek Ashley,
- Director:John Flynn,
- Writer:Richard Smith, Jeb Stuart, Henry Rosenbaum
Frank Leone is about to end his period in Norwood, a low security prison. Suddenly he is taken to Gateway Prison, a prison with maximum security. Things get worse when Warden Drumgoole, who was publicly humiliated by Leone, take charge of him, which indicate that Leone is going to live in his darkest days. . You can read more in Google, Youtube, Wiki
Lock Up torrent reviews
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(ca) wrote: Obnoxious, idiotic, insanely misguided and almost purely hateful.
(gb) wrote: Surprising entertaining. I really enjoyed this B horror flick.
(ag) wrote: I remember watching this as a teen and saying, "This is interesting." I was wrong.....so wrong.
(fr) wrote: A bit melodramatic at times, this is the true story of the haunting Hungarian title song, which became popular in the 1930s, and the people whose lives it "cursed". A terrific cast is lead by the under-appreciated and brilliant Joachim Krl. Budapest serves as a stunning backdrop and the sweeping shots of the Danube and its many beautiful bridges made me want to return immediately.
(us) wrote: Difficult to get into, character development is not great. Fairly cute storyline.
(de) wrote: wow I absolutely adore this movie, I thought this movie was good, David Jason spoke the The Big Friendly Giant, great film I loved it, it's a great film, I loved it, I've got it on DVD, Great
(de) wrote: Not one of the better Godzilla films.
(ru) wrote: This is the movie that put the button on the most popular series of films ever made. Some people hate the Ewoks, among some other flaws, but it was always my personal favorite as a youngster and the space battle near the end really keeps you hooked in.
(au) wrote: This movie is hilarious!! I died laughing when I watched it with my friend Ann Blevins. (she also has a giggly laugh, that is soo fetch!)
(de) wrote: A lesser film in the career of Fritz Lang, but it's still a very entertaining western (despite some cringeworthy portrayals of Native Americans) and a a typically solid performance by Randolph Scott. TCM is such a great channel for showing films that are not available on DVD or VHS.
(ca) wrote: Spellbinding is the way a disconnect can exist between your perception of yourself and the perception others have of you. To attempt to figure out how the two differentiate is an exhausting endeavor, hardly mattering because most are adept in understanding their presentation of themselves and how to maintain it alongside their self-possession. But for every person of the latter type, there's another appearing to be completely oblivious to their surroundings. Personality is a given, but varying is how it is viewed in the eyes of another. Robert Altman's unsettling "3 Women" is a character study fascinated by this phenomenon. It watches in disbelief as its titular trio studies, reflects, shifts, and eventually merges in their individual guises. Like with Ingmar Bergman's elusive 1966 masterpiece "Persona," we don't so much feel as though we're watching a foray into cinematic realism. "3 Women" is, rather, invested in manipulating what's expected of any given character, how changes in their dispositions can make way so long as the filmmaker behind it all chooses to. But the movie is so unnerving because its manipulations aren't so obvious. Contrasting to later day homages like "Mulholland Dr." and "Certified Copy," never is there a direct sense that we're watching the director's version of a seductive mirage. Such a quality isn't apparent until the last half-hour or so, when drastic shifts in character swirl around us with curious menace. What Altman is trying to accomplish with "3 Women" is hard to easily grasp. But its hypnotism is unbreakable; it's akin to an unforgettable dream, inexplicable yet fetchingly enigmatic. We want to know what's lurking beneath the surface of it all. We're certain that there's more than what meets the eye. It takes the shape of a horror movie, utilizing an eerie soundtrack and voyeuristic camerawork to increase our anxiety. Nothing truly horrific is ever presented to us per se; I think Altman, whose writing and directing is unrelentingly mysterious, figures the best way to make "3 Women's" idiosyncrasies avoid pretension is to establish an unstable environment, an environment on the verge of collapsing or on the verge of violence. Its three leadings characters, though three-dimensional and instantaneously graspable, only accentuate this disquiet. We feel as if we know them, but their auras are lined with nervous unpredictability. The film stars Sissy Spacek as Pinky Rose, a timid and cryptic young woman from Texas in California to start a new life. What she's running from (if she's running) is unknown - Pinky is the kind of person that disappears into the background of every room she enters, too withdrawn to make herself a noticeable presence in another's life. She quickly gets a job at a daytime spa that specializes in caring for the elderly and the handicapped. There she meets and takes a liking to Millie Lammoreaux (Shelley Duvall), an extroverted employee who appreciates Pinky's attention but is apprehensive toward a full-fledged friendship. Pinky is a little strange, after all, and Millie is the life of the party, the prettiest and most liked person in the room. Or so she thinks. Whereas Pinky is reticent in her existence but seemingly happy about it, Millie believes she's a glamorous catch when the truth is far and away. Men she flirts with mock her behind her back. The women at work all but ignore her when she attempts to converse with them. And yet she seems to be blissfully unaware of everyone's indifference, talkative, poised, and smitten with herself. But some of her security departs when her roommate moves out, leaving her alone in a world that she is convinced revolves around her. Millie posts an advertisement on the bulletin board in the hospital cafeteria across the street from the spa. Pinky notices and enthusiastically accepts. Before long, the women are living together, initially symbiotically. But as their relationship develops, unexplainable dislocations in their personalities come to light. And the changes are not expected or average, like roommate disagreements or spats over romance. Something fanciful, something almost fantastical, is at hand. What it is, though, is unclear. "3 Women" only seems to heighten in its perplexities as it goes on, escalating in its erraticism until it doesn't seem to be of this Earth. How it specifically develops I cannot say. But who are Millie and Pinky? Are they roommates, beings always meant to be together, or are they a single person seen as two? The inclusion of the third woman adds to the mystery. Named Willie and played by a largely silent Janice Rule, she spends most of her time in the desert at an abandoned recreational center turned bar, wasting the days painting disturbing murals on much of the decor. Pregnant and peculiar, she seems to exist outside of the natural world, drifting in its shadows, never to be tied down. How these women are all connected is laborious to pin down. But I believe Millie is the only "real" character among them: Pinky exists more as an extension of the latter, reflecting her best and worst qualities with exaggeration, and Willie is an embodiment of the doubts she has about herself, always stalking the premises but never quite intrinsically there. Within the first hour of "3 Women," Pinky is what Millie should be - understanding of her rejection by society and aware of her loneliness. In the second, when the two have effectively switched personalities, Pinky is what Millie strives to be - enchanting to all and dangerously alluring. Millie believes herself to be one way but is actually another; Pinky shapes herself into what she finds entrancing and does it better; Willie represents her kept hidden disillusion with herself. But such observations only makes for general analysis. "3 Women" is better viewed as a movie that we cannot explain. It finds its setting in a land distinctly separate from our own, where the prosaic is profound and where no one knows themselves as well as they'd like to think. The film's obsession with dismantling one's sense of self makes it remarkably macabre. In this cruel world, knowing who we are is all we have. And yet it finds most of its intrigue by unraveling Millie's own comfort in her discernment of her existence. Days later and I'm still agitated by its audacity. "3 Women" is certainly one of Altman's most offbeat films, and is certainly one of the great cinematic wonders of the 1970s. Duvall and Spacek give sensational performances (made all the more difficult due to Altman's insistence on extensive improv); the atmosphere is unearthly and influential. But I quake in fear when looking at the film from a retrospective eye; there's something invasive, something personal about it, that chills me. I'm not sure what. I don't believe I could ever watch it again. But what an unprecedented, brilliant movie it is.
(br) wrote: The visual and action work. It's the plot, dialogue and characters that don't. A visual ride with nothing between the ears that should have worked.
(fr) wrote: A brilliant film that for most of the film leaves you scratching your head and the plot feels like it could be a mistaken identity comedy film, But if you hang in there it's worth it as the plot unravels and it's full of great twists and turns and is very clever, All the cast were great I'm just surprised it didn't get more praise, It is one of them films where if you don't pay full attention it won't make sense as it's very detailed but it's great and definitely worth the watch.
(nl) wrote: It's not necessarily profound by any stretch of the imagination, but is admittedly funny and should be celebrated for bringing an important message about politics to the masses.
(mx) wrote: A dull story about a (more-or-less) pedophile, portrayed poorly by Pacino. There's little else to this lifeless film. A dreadful piece of cinema. The worst thing I've seen in awhile.
(nl) wrote: Due in no small part to how artfully the character and setting are painted here - the thing sure does permeate.